brief, pick a scientific principle or technology and build a fictional world around it. Include an explanation of what it is and how it fits in the world you are creating. Develop the characters in your story and the locations where the action will take place. Record your ideas in the template using notes or bullet points. [10 minutes] Introduce the science or technology into the narrative of your story. This step is called the scientific inflection point. Again, use notes or bullet point form to explore this. [5 minutes] Explore what implications and ramifications your science or technology have on the world you created. Does it affect people’s lives for better or worse? Is there a risk that it might lead to a disaster or even the end of the world as we know it? This step is referred to as the ramifications of the science or technology on people. [10 minutes] With the science or technology now being part of the future scenario, describe what happens next. If there was a disaster, how could it be fixed to save the world? Does the science or technology need to be modified? This step is referred to as the human inflection point. [10 minutes] Develop your outline into a full science fiction story, if you have time to do so. Otherwise use the outline for ideation purposes, in step 6. Reflect on what you learned from creating the outline of your science fiction story. What are possible implications, solutions or lessons learned? What are aspects that could be taken into the current reality and integrated into an envisioned solution that addresses your chosen brief? [10 minutes] Pen, paper In this exercise, you will use the “five steps” template (p.X) to develop a narrative science fiction prototype. Focus on your design problem, or choose the Autonomous Vehicles brief (p.X). Dourish, P., & Bell, G. (2014). Resistance is futile: reading science fiction alongside ubiquitous computing. Personal and Ubiquitous Computing, 18(4), 769-778. Johnson, B. D. (2011). Science fiction prototyping: Designing the future with science fiction. Synthesis Lectures on Computer Science, 3(1), 1-190. Shedroff, N., & Noessel, C. (2012). Make It So: Interaction Design Lessons from Science Fiction. Brooklyn, New York, USA: Rosenfeld Media. Science fiction prototypes are stories placed in the distant future. They allow the fictional exploration of scenarios, in which people interact with envisioned products or services. The narrative of the story is based on real scientific principles and technologies but explores their use in an environment that is free of constraints. The story follows a set structure, which includes identifying the characters, the scientific principle or technology, and so on. Critically, the narrative should include an inflection point, possibly leading to a disaster, as well as an exploration of the implications and how the characters can recover or overcome this disaster. Once a story narrative is developed, it is turned into either a prototype representation of how an envisioned product or service would be used in the future. This is often an essay, comic or movie. However, even the skeleton of the narrative can be a useful artefact in a design process. The science fiction prototype can then be used to reflect on which of its elements could be brought back into the current design situation. The method is used for speculative prototyping as well as ideation – by using elements from the science fiction prototype to inform the design of a solution. Science fiction prototyping is used by tech companies as a way to explore how their technology will be used in future scenarios. For example, Intel uses this method to determine how people will be interacting with semiconductor- based products in the future, which helps them to identify requirements for the development of new semiconductor technology. Science fiction prototypes are also useful to communicate speculative ideas and scenarios within design teams. Science Fiction Prototyping Using the future to improve the now 1 4 5 6 3 2 110 111 Design. Think. Make. Break. Repeat. Science Fiction Prototyping EXERCISE YOU WILL NEED ACADEMIC RESOURCES: Reflect on the user of the product or service you have in mind. If you need a topic, you can use a sample persona (URL) and focus on one of the following: E.g. Getting money out of an ATM E.g. Purchasing concert tickets E.g. Making a cup of coffee [3 minutes] Write down three to five key steps that the user would go through when interacting with the product or service. Plan what ‘shots’ and techniques you could use to illustrate these steps. Shots can include: • Wide shot: showing the surrounding context • Long shot: showing a person with their body fully visible and his/her surrounds • Medium shot: showing a person’s head and shoulders • Over-the-shoulder shot: looking at things “over the shoulder” of a person • Point of view shot: showing things through a person’s eyes • Close-up shot: showing a detailed view of a device or interface [5 minutes] Draw your storyboard in the template. Try to begin with a ‘wide shot’ to establish an impression of where the story begins and to introduce the objects or people that are important. [5 minutes] For each remaining step illustrate what the person would do. You can just use simple symbols and stick figures. Use a variety of shots to show relevant parts of the environment and the interactions between the person and the evaluated product or service. [15 minutes] Add short captions to describe each step. Ideally, every panel should show a single action accompanied by a sentence explaining the action. To improve your storyboard try the following: • Use bold outlines or highlight colours to draw attention to important parts • Use arrows to indicate important directions of movement [5 minutes] Paper, pens, coloured pencil In this exercise, you will create a storyboard documenting an existing situation or demonstrating a new design idea. Use the provided template (p.X) to get started. Greenberg, S., Carpendale, S., Marquardt, N., & Buxton, B. (2011). Sketching user experiences: The workbook. Elsevier. Truong, K. N., Hayes, G. R., & Abowd, G. D. (2006). Storyboarding: an empirical determination of best practices and effective guidelines. In Proceedings of the Designing Interactive systems (pp. 12-21). ACM. Davidoff, S., Lee, M. K., Dey, A. K., & Zimmerman, J. (2007, September). Rapidly exploring application design through speed dating. In International Conference on Ubiquitous Computing (pp. 429-446). Springer Berlin Heidelberg. Storyboards in design are used to visually explore the interactions between people and products or services. They can either represent an existing situation or communicate an envisioned situation. When depicting existing situations, the story should be based on real data, for example, collected through contextual observation (p.X). Storyboards of existing situations are effective for highlighting issues with current experiences. Storyboards of envisioned situations can be used for evaluating early concepts with other team members or prospective users and for communicating concepts to others. Storyboards can be either hand-drawn or digitally composed illustrations that take techniques from film-making and comics. They consist of rectangular frames arranged horizontally or vertically in temporal order to narrate a story. Each frame represents a ‘shot’, similar to the use of storyboards in film. Speech and thought bubbles are used to represent dialogues and thought processes. To keep the story easily accessible, the number of panels should be between three and six. If more panels are needed, they can be included as an additional storyboard. Details in a panel are used to focus the viewer’s attention on the important parts of the scenario such as one of the characters interacting with a product. Descriptions above or below each panel are used to explain the scene within the panel. Time can be indicated either explicitly using a clock or calendar, or through implicit indicators such as a rising sun or contextual dialogues. The characters in the story should be based on user representations, for example in the form of personas (p.X) or extreme characters (p.X). Characters can interact with each other as well as the explored product or service to express emotions and relationships. Using the power of comics to explain concepts Storyboarding 1 3 4 5 2 118 119 Design. Think. Make. Break. Repeat. Storyboarding EXERCISE YOU WILL NEED A pen In this exercise, you will create a user journey map using the template provided (p X). Before you start, you will need a good understanding of the current user experience based on prior research. You can follow the Supermarket of the Future brief (p.X) for this exercise. User Journey Mapping Understanding complex user YOU WILL NEED EXERCISE Smartphone with camera, paper, cardboard, masking tape, post-it notes, pens, optionally: video editing software In this exercise, you will create a 30-second video prototype to convey an idea for a product or service. You will learn how to use techniques to represent the interactions between people and a product or service through video. Video Prototyping Communicating design concepts ACADEMIC RESOURCES: YOU WILL NEED EXERCISE Arrange a workshop with one or more participants. Every participant should have recent experience of the problem domain. e.g. shopping for groceries in the supermarket Ask the participant(s) to use the provided images and materials to express their experiences (URL). They can glue these onto the A0 paper, arranged in such a way that they represent the participant’s routines and relationships. Your participant(s) can also use lines, annotations and sketches to accompany the pictures they have selected. E.g. A line connecting two pictures could represent a relationship E.g. Annotations can be used to clarify the choice of a picture. [25 minutes] Use the resulting map to interview your participant(s). Ask them questions about their activities, the people they interact with, the technologies they use, and the problems they face. Follow up any interesting points that you observed during the map-making. Take notes and/ or record the conversation. Get your participant(s) to take photographs of the environment, objects and technologies they encounter in the problem domain, in the week after the workshop. Print these photos. [1 week] Conduct a second workshop where you ask the same participant(s) to augment their existing map with the photos they took. This will help to improve the representation and understanding of the problem domain. [20 minutes] 1-3 people, A0 and A4 paper, coloured markers, pen, scissors, glue, sticky tape In this exercise, you will employ cartographic mapping to understand the practices of one or more participants, and identify opportunities for design solutions. Choose your own design problem, or focus on the Supermarket of the Future brief (p.X) and use the resources on the companion website (URL). Elovaara, P., & Mörtberg, C. (2010). Cartographic mappings: participative methods. In Proceedings of the 11th Biennial Participatory Design Conference (pp. 171-174). ACM. Finken, S., & Mörtberg, C. (2014). Performing Elderliness–Intra-actions with Digital Domestic Care Technologies. In IFIP International Conference on Human Choice and Computers (pp. 307-319). Springer, Berlin, Heidelberg. Mapping and other methods involving making collages are frequently employed in participatory design workshops to capture and understand domain-specific user knowledge. Cartographic mapping is a mapping method with a particular focus on the mediating role of the map- making activity in mutual knowledge construction. In this method, the facilitator and participant are working together on creating a visualisation of the participant’s daily routines, relationships and settings within a problem domain. A typical cartographic mapping process involves two stages taking place in a workshop setting: 1) making an initial map, and 2) enhancing the map through a participant-performed ethnographic study. In the first stage, workshop participants are asked to create a map of their relationships with other people, devices, and other material objects in their problem domain. A large blank paper, the various cut-out pictures, post-it notes, and colourful markers are provided for the activity. The participants place a picture representing themselves on the paper and then start to map relations with other entities around it. During this process, the workshop facilitator asks questions about the participants’ particular choices of images and the relationships being mapped. In the second stage, the participants are asked to take photographs of the setting relating to the problem domain to capture the details of their work or everyday routines. In a subsequent workshop, the participants add these photographs onto the maps they created in the first workshop to develop a better understanding of the problem domain. In addition to the creation of thick and rich visual representations of people’s daily routines, relationships and settings, the activity of map-making facilitates an informal conversation about the various problems and matters of concern supported by relevant visuals. Cartographic Mapping Generating rich depictions of settings and practices in a problem domain 1 5 6 3 4 2 34 35 Design. Think. Make. Break. Repeat. Cartographic Mapping EXERCISE YOU WILL NEED ACADEMIC RESOURCES: Decide what you want to achieve from the co-design workshop and write it down. E.g. A better way of buying fresh produce [5 minutes] Consider the logistics of your co-design workshop: • What kind of people should be there? E.g. frequent shoppers, avid cooks • How will you record it? E.g. notes, written feedback, observations, video • What is the order of activities and their duration? E.g. immersion, talking about current experiences, describing ideal experiences, evaluating initial concepts. Prepare a script. [20 minutes] Prepare the workshop materials. Use printed images to immerse participants in the problem space. Leverage existing sketches or prototypes of initial concepts or select examples from the resources (URL) for Supermarket of the Future. Identify methods to complete during the workshop such as: • Low-fidelity prototyping • Storyboarding [20 minutes] Prepare key questions for participants to use throughout the workshop. E.g. “What do you currently enjoy / not enjoy about shopping?” E.g. “What would an ideal shopping experience look like for you?” E.g. “What are some features of this design that you like? E.g. “What would you change?” [10 minutes] Run the workshop. Be sure to communicate the purpose and intended outcomes. Explain the purpose of the design, but without being too detailed, as this can limit the creativity of the participants. Introduce each activity as it starts. Allow participants to design concepts and augment existing ideas with their suggestions. Offer templates and frameworks to assist participants with completing the chosen methods. [1-4 hours] After the workshop you can interpret the collected data using a nity diagramming (p.X) or thematic analysis (p.X). Gather the feedback and concepts from co- designers. How does this influence the design concept? 3+ people, pens, paper, an initial concept In this exercise, you will learn how to design and conduct a co-design workshop. You will decide what the purpose of the workshop is, who the participants are, and which methods to use. Focus on your own design problem or the Supermarket of the Future brief (p.X). Sanders, E. B. N. (2002). From user-centered to participatory design approaches. Design and the social sciences: Making connections, 1(8). Steen, M., Manschot, M. A. J., & De Koning, N. (2011). Benefits of co-design in service design projects. International Journal of Design 5 (2) 2011, 53-60. Co-design workshops bring users, customers, stakeholders and designers together to rapidly critique and iterate on design concepts, ensuring that their needs remain at the centre of the design process. Co-design and similar methodologies, such as participatory design, involve the users and other stakeholders participating actively, building on concepts they are presented with (be it a current user experience or a new design concept) and informing the future direction of the design. The principle of co-design is to “design with” rather than “designing for” people. Users and other stakeholders are in an active role, contributing to the design, rather than passively responding to design decisions. Co-design workshops build on this principle and include a preparation phase, recruitment phase, the workshop itself, interpretation and action. The first phase, preparation, is used to determine the overall direction for the workshop. This can involve the development of an initial concept that users can respond to, for example, in the form of a low- fidelity prototype (p.X) or storyboard (p.X). During the workshop, participants are taken through the stages of immersion, talking about current experiences, ideal experiences, and finally, evaluating and iterating the initial concept. Comments from participants along with any artefacts that were co-designed during the workshop are then analysed and fed back into the design process. Co-design workshops can be employed at any stage of the design process. During the research phase, they can be used to inform a complete view of people’s circumstances and situations. For projects that focus on the re-design of an existing product or service, this includes developing an understanding of how people currently make use of the product or service. During the prototyping phase, co-design workshops can be used to rapidly iterate concepts. Co-Design Workshops Designing with your participants 1 4 5 6 3 2 38 39 Design. Think. Make. Break. Repeat. Co-Design Workshop ACADEMIC RESOURCES: Goodman, E., Kuniavsky, M., & Moed, A. (2012). Chapter 9. Field Visits: Learning from Observation. In Observing the User Experience: A Practitioner’s Guide to User Research (pp.211-238). MA, USA: Elsevier. How to Conduct User Observations. (2017, February 4). The Interaction Design Foundation. Retrieved from https://www.interaction- design.org/literature/article/ how-to-conduct-user- observations Contextual observation can be used to study people’s behaviour in different environments, such as workplaces, their homes, public spaces, and so on. Experiences in real life don’t happen in a vacuum, and contextual observation takes into account the range of external factors that can influence people’s behaviour, such as environmental, temporal and social factors. Data collected through contextual observation includes user’s actions, physical posture, changes in facial expressions and gaze, and gestures in relation to a specific task, component or aspect of a product or service. Analysing these data can then reveal aspects of behaviours, workflows, and existing products or services. In contextual observation, data is mainly limited to people’s behaviour that is visually accessible, such as their reactions to input from the surrounding built or ambient environment, social interactions, and so on. These factors and the natural relationship between the user and the context would not be accounted for in observation carried out in the controlled environment of a lab. Contextual observation can be used for developing a better understanding of a design problem or context, as well as for gathering feedback about a prototype design. In the latter case, it provides a more natural alternative to usability testing (p.X), which is typically conducted in a structured lab environment. To ensure that the observation reveals useful data, some preparation is required. Most importantly, the objective of the observation has to be defined before the observation takes place. Other aspects to plan and consider include audience, location, time of the day, and day of the week. Contextual Observation Observing how people act in the wild 42 Contextual Observation ACADEMIC RESOURCES: Madsen, K. H. (1994). A guide to metaphorical design. Communications of the ACM, 37(12), 57-62. Hey, J., Linsey, J., Agogino, A. M., & Wood, K. L. (2008). Analogies and metaphors in creative design. International Journal of Engineering Education, 24(2), 283-294. Schön, D. (1979). Generative Metaphor: A Perspective on Problem-setting in Social Policy. In A. Ortony (Ed.) Metaphor and Thought (pp. 254-283). Cambridge: Cambridge University Press. In linguistics, metaphors are “A figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable” (Oxford Dictionary). In design, metaphors are used to refer to familiar precedents from the world around us. The metaphor assists the transfer of what we know in one domain (the source) into another different domain (the target). The desktop metaphor used in the graphical user interface of personal computers is a classic example of using a metaphor to aid conceptual understanding of interactions. Applying metaphors from an o ce environment allows people to easily learn how to perform interactions within a graphical user interface. Like on a physical desk, files are located inside folders. Unwanted files are dragged into a rubbish bin. Applying different metaphors during the conceptual design phase can reveal a variety of design solutions. For example, the metaphor of “computers as humans” leads to dialogue-based forms of interaction, whereas the metaphor of “computers as tools” leads to direct manipulation-based forms of interaction. Designs that are modelled on nature are also referred to as biomimicry. Far-fetched analogies can be used to spark ideas. Metaphors can also be used to generate new perspectives on a problem by seeing something as something else (Schön, 1979). Metaphors can be applied in design to explore the problem domain from unusual and competing perspectives, and to reveal the hidden dimensions of a problem to be solved (Madsen, 1994). By applying a series of strategic questions, it is possible to unpack the metaphor and discover new understandings of and potential solutions to the problem at hand. Design by Metaphor The power of seeing something as something else 48 Design by Metaphor Empathic Modelling Putting yourself in someone
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